Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mauritania and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Martian to the techno kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Fluxion. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Section 25,
Theoretical Girls,
Ultravox,
The Cramps,
Jerry Gold Smith,
The Move,
The Divine Comedy,
Gang of Four,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wasted Youth,
E-Dancer,
Masters at Work,
The United States of America,
Cabaret Voltaire,
Frankie Knuckles,
Minutemen,
Spoonie Gee,
Flash Fearless,
The Zeros,
Judy Mowatt,
The Mummies,
Technova,
Mo-Dettes,
Babytalk,
Crispy Ambulance,
Excepter,
The Happenings,
Gregory Isaacs,
Amon Düül II,
The Grass Roots,
The Gun Club,
Japan,
Lou Reed & Metallica,
Ultra Naté,
Television,
June Days,
Charles Mingus,
Sarah Menescal,
Boz Scaggs,
Bob Dylan,
Goldenarms,
OOIOO,
Pete Rock & C.L. Smooth,
Roger Hodgson,
Swans,
Public Enemy,
The Beau Brummels,
Tim Buckley,
Negative Approach,
Adolescents,
Tomorrow,
Rhythm & Sound,
The Evens,
Clear Light,
Barry Ungar,
Circle Jerks,
CMW,
Mary Jane Girls,
Can,
Al Stewart,
Notorious Big And Bone Thugs,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.